The Salt Lake herald. [volume] (Salt Lake City [Utah]) 1870-1909, 1887-02-20

any warning, not even a prelude to th,
first measures of the storm which wa
expressed by ViolIns and alternatels
ascending and descending chroma il
j., CANNES. The short chorus in sol which
follows " Vitt0rfd Sterntina" has som,
eclat but no originality. 1t was received
coldly. The next chorus, Fucco d
= giOiG, has a great deal of vivacity, but
its leading phrases recalls the theme
OF the 6rindisi in "Lucrezia Borgia. )
In spite OF its labored beglnningits con
clusion with its picturesque diminuendc
was received with shouts of applause
and shouts of EvUiUG Verdi! Evvivo
3 Aaure!
, MAUREL's SUCCESS.
y Maurel, who was in magnificent voice
scored another brilliant success by his
Iago. 1t is his most artistic creation,
and when he sang his brindisi, he was
| loudly cheered. Tomagno, ItaIy's most
famous tenor, was also in superb voice,
Together with Signora Pantallini he
sang with artistic precision the grand
love duo between Otello and Des-
demona, but this passage upon which
so much counted, was uninterrupted bv
a single mark of applause. But as the
curtain fell on the first act, Verdi was
called for. With a perfect furia of
cheers he stepped brisBly to the foot
lights, very pale but with a pleasant
smile. He was escorted by Tomagno
Maurel, Signora Pantalioni and all the
artists. Verdi who was also accompanied
by magnificent footmap in purpleland
goldIiYery, holding a huge gilt basket
full OF kilograms, cards, letters and
| Iof
edgmerts, pressing his hand to his
| heart.
The second act was more successful
and another brilliant success for Maurel
as he sung the famous monologue in
carnating the doctrine of Nihilists and
the formule of Schopenhauer. The,
passage is accompanied by tremendous
bursts OF brazen instruments that trans
form lago into sort of gigantic Bert
ram. The chorus in the garden in this
act IS charming, and the sweet voices
| of children, offering in mi mGjeur lilies
to Desdemona, completely fascinated
the audience. An atmosphere of fresh
ness and innocence seemed to permeate
the house after the monologue of Iago
oo0 Vic OdIoAl1C OldIOSdc, uCCldl LIEU
rather than sung, between Otello and
Isgo. The qustuor sung by Otello,
Desdemonaa and Emilia reminded NEE
quatuor in Rigoletto. The largo in
In Sc benaoE of Desdemona, trying to
calm her furious husband, is of very
great beauty. Here Maurel scored a
tremendous applause as he snatched the
fatal handkerchief from Emilia's hands.
During the peroration of the duo be-
tween Otello and Iago the distant voice
kept rising in my breast of I'll mic. cor
81 divide" Rossini's melodious phrase
is more heartrending in It's general sim
plicity than Verdi's most tumultuous
outbursts.
LAURELs SHARED WITH VERDI.
Tomagno and Maurel were loudly
called for at the end of the second act,
and La Scala resounded with shouts of
admiration as they came to the foot
lights. They were recalled a second
when they came forward, each holding
one of Verdi's hands and dragging the
master, apparently reluctant to ad-
vance.
The universal verdict of the audience
seemed to be that the grand finale in
hd OC1AOi tAdL CDio Luc SCCOuO dCs Is
the most touching passage that Verdi |
ever composed. The third act why
conceal the truth?) is most mortally |
tedious, and reveals that whatever |
genius and technical resources Verdi |
possesses in the the third act Otello |
gives no sign whatever of the lndepend- |
ence of his Imagination. Certain pas
sages of this act recall vaguely some Of |
Schubert's songs. Toward the end, |
however, this disappointing act was |
galvanized into life by a rather brilliant |
finale The ar1sts were, nevertheless, |
recalled, and also Verdi, who looked |
pale as death, but smiled family.
THE TURNING POINT.
The fourth act is happy compensa-
ton that assures the definite success Of
the opera. The romance of the Saule
and especially the Ave Maria of BESIDE
mona were really a superb success. The
audience shouted, cheered and went BE-
side itself, frantic with excitement, and
Nine. Pantalioni had to sing twice the
difficult and touching prayer. The or
chestral accompaniment TO the entry of
the Nor, who burst like a thunder
storm into Desdemona's bedchamber,
was also encored. This effective or
chestratioR was produced by ten contre-'
BASES, and is most Tema kable. The
curtain falls with perfect reclamation
OF applause. as Otello, after pressing the
lips of Desdemona, sinks lifeless TO the
ground. ~
VERDI RECEIVED WITH ENTHUSIASM.
Shouts of "EvUiUa VtrdiP' seemed to
rend the air, and Italy's grand maestro
was recalled twelve times before the I
curtain and Boito was recalled twice.
In short, 1t w.s a perfect ovation TO
Verdi, to which l heartily associate my
self, in so far as this ovation IS ad-
dressed to Yerdi's genius and. TO his
long career.
GRACE sUPFooITRD By PADDISe.
1 find among The numerous passages
of 'Otello the grace of the author of
Rigoletto, and the tender heart of the
poet OF La Traviata, but these passages
are fragment&Ey and seem as If sutfo-
Gated berwAth dull padding. Never
have I realised so ksenly as tonight
that tue most slender melody sur
4 L., oot SnIA ffl-l